Iconographie du genre Camellia Pl.079
Jung pinx|Iconographie du genre Camellia Pl.079
Iconographie du genre Camellia Pl.079
Ten ways of seeing
- measured cast red
- upright 1.37 : 1
First Look
凡画山水，意在笔先。
—— 唐·王维《山水论》
In painting, the intention precedes the brush.
The sheet is vertical: the eye climbs and settles in the upper half. Let the plant stand before you look for detail. Then step in close: watch where colour meets line, and whether the line ever breaks. Third, find the darkest small patch: the whole tonal order is measured from there. The pose leans right: the upper half carries 9 points further right than the lower — a living thing, not a diagram.
Name and Thing
Only the genus Camellia is given; species-level names came later. No established Chinese name exists, so it is cited by its binomial alone.
Form and Colour
Measured on this plate: flower colour covers 5.8% of the sheet, foliage 5.5%, the cast red. No other plate shares exactly this measure. Camellias are evergreen shrubs with thick, waxen, serrate leaves; the double flowers overlap like roof tiles and fall whole, petals still attached.No colour group is recorded. Read the outline, then the colour layers, then the brush.
Composition
The sheet is tall. No details are appended: a plate for looking, not for keying out. The plant covers only 19% of the sheet, centred above centre; the emptiness is where the eye rests.
Line and Colour
The first half of the nineteenth century moved from copper to steel to lithography; stipple could render the softest transition. There is evidence on the back too: the plate mark pressed into the paper, the slight relief of the pigment, lines worn shallow in a later printing. If you mean to copy it: take its skeleton, its margins and the order of its colours; the burin's hatching is the language of copper — suggest it with pencil density, do not imitate it stroke for stroke.
Poetic Resonance
空作江南江北梦，辛夷踯躅倚山茶。
—— 宋·黄庭坚《见二十弟倡和花字漫兴五首 其二》
The poem gives the mood first and the picture supplies the form; set the line beside the plate and the corolla becomes its resting point.
Symbolism
In China the camellia is the friend that endures; in Europe it became Eastern beauty and unattainability, and after La Dame aux Camélias, a token of brief life. In a flora it is a species first and a symbol second; the order is worth keeping.
Season and Place
Late winter into early spring, blooming in the cold of the first lunar month. when it reached Europe in the nineteenth century it was hailed as 'the rose of the East'. The year 1841 on the plate is that of publication, not of flowering — the gathering came a year or two earlier. See this kind of plate in the flowering season if you can: once you have met the living flower, you stop reading only colour.
The Book and the Hand
“Iconographie du genre Camellia” carries only Lorenzo Berlese's name. The image is public domain; the hand-colouring is still one person's hand.
What to Take Away
Carry three rules away: whole before detail; line before colour; picture before book. The flower of that year is dust, yet its image on paper has outlived every living cousin.
About this plate
Iconographie du genre Camellia Pl.079 is plate 79, from Iconographie du genre Camellia, drawn by Lorenzo Berlese. This public-domain plate is reproduced at high resolution, free to view and download. Publication: Paris, H. Cousin, 1841-1843.
